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The Songlands of the Kalevala
© I.K. INHA JUMINKEKO In Kainuu, the trees reach up to the sky and the dappled light filters down through their branches. The murmuring of forest streams and the soothing hum of the verdant forest greet you and lead you to the mystical beauty of this northern wilder- ness. It is here you find the inspiration for the Finnish national epic, The Kalevala. The Kalevala is the Finnish national epic compiled from old Finnish ballads, lyrical songs, and oral poetry, all part of Finn- ish tradition. The Kalevala was compiled by Elias Lönnrot who published the folk material in two editions. Kalevala, the dwelling place of the poem’s chief characters, is a poetic LOCAL DELICACIES name for Finland, meaning “land of heroes.” The leader of the “sons of Kaleva” is the wise old Väinämöinen, a powerful sage with intuitive powers, who is a master of the kantele, a Finnish stringed instrument. In the Songlands of the Kalevala, you tread the paths once tak- en by Elias Lönnrot, and witness first hand where the Karelian artists of the Kalevala found their inspiration. Kuhmo brings the Kalevala to life, with history and modernity living side by side. Kuhmo is a UNESCO City of Literature be- ROWING A cause of the Kalevala. Maybe you will be the one who finally CHURCH BOAT solves the great riddle of our national epic: “Goes round the sun, goes round the moon, but cannot go round juminkeko.” Could it really be about Polaris? You may reflect on this conundrum whilst enjoying a tradition- al Kalevala dinner and learning about fishing lures and ancient hunting rhymes. -
Kalevala: Land of Heroes
U II 8 u II II I II 8 II II KALEVALA I) II u II I) II II THE LAND OF HEROES II II II II II u TRANSLATED BY W. F. KIRBY il II II II II II INTRODUCTION BY J. B. C. GRUNDY II II II II 8 II II IN TWO VOLS. VOLUME TWO No. 260 EVEWMAN'S ME VOLUME TWO 'As the Kalevala holds up its bright mirror to the life of the Finns moving among the first long shadows of medieval civilization it suggests to our minds the proto-twilight of Homeric Greece. Its historic background is the misty age of feud and foray between the people of Kaleva and their more ancient neighbours of Pohjola, possibly the Lapps. Poetically it recounts the long quest of that singular and prolific talisman, the Sampo, and ends upon the first note of Christianity, the introduction of which was completed in the fourteenth century. Heroic but human, its men and women march boldly through the fifty cantos, raiding, drinking, abducting, outwitting, weep- ing, but always active and always at odds with the very perils that confront their countrymen today: the forest, with its savage animals; its myriad lakes and rocks and torrents; wind, fire, and darkness; and the cold.' From the Introduction to this Every- man Edition by J. B. C. Grundy. The picture on the front of this wrapper by A . Gallen- Kallela illustrates the passage in the 'Kalevala' where the mother of Lemminkdinen comes upon the scattered limbs of her son by the banks of the River of Death. -
Creating a Game Character Based on Finnish Mythology and the Impact of Costume Design
Creating a game character based on Finnish mythology and the impact of Costume design Elin Masar Degree Thesis Film and Media 2017, Online Media Förnamn Efternamn20 21 EXAMENSARBETE Arcada Utbildningsprogram: Online Media Identifikationsnummer: 8148 Författare: Elin Masar Arbetets namn: Att skapa en karaktär baserat på finsk mytologi och påverkan av kostymdesign Handledare (Arcada): Mirko Ahonen Uppdragsgivare: - Sammandrag: Kostym design och de kreativa val som designers gör, från deras perspektiv, är något som sällan diskuteras i spelvärlden. Mera specifikt, den emotionella påverkan som kläder och accessoarer har på en karaktär och hur dessa faktorer kan hjälpa att bygga en personlighet åt karaktären i fråga. Detta arbete är baserat på tre karaktärer som gjordes för spelet Destination: Nowhere som är inspirerat på finsk mytologi och folktro. Under själva projektet låg fokus på att lära sig om folktron och undersöka ämnet. I efterhand var det viktigt att lära sig hur andra såg på karaktärerna och hur dom passar in i det som har blivit sagt om karaktärsdesign och den emotionella påverkan som kostym design har genom att använda sig av historia. Konstnärlig undersökning var metoden som användes för att göra noggrann analys av karaktärerna. När det väl kom till att läsa teori om kostym design övergick metoden till textanalys för att utveckla sin kunskap om ämnet. Med hjälp av de två undersökningarna kunde man lägga märke till hur viktigt det egentligen är med kostym design då man skapar karaktärer. Målet med arbetet var att få en bättre uppfattning om ämnet och förstå tyngden av kostym design och hur det påverkar en karaktär, samt hur stor del av historien som egentligen kan berättas genom kläderna. -
The Bear Tribe Manual (Version 1) by C.Broch and K Fletcher
The Bear Tribe Manual (version 1) by C.Broch and K Fletcher This Document... ...is intended as a practical guide to holding a Bear Feast of the type held by the Bear Tribe in the UK. It is not intended as a scholarly guide to bear ritual practices. If anthropology is what you are looking for, please check out the books in the appendix, particularly Irving Hallowell's Bear Ceremonialism which is available in many places online. You are welcome to use the contents of this document and the audio files mentioned below for any non-profit purpose. Copyright remains with the originators of the work. Accompanying Materials The songs for the ritual, recorded in mp3 format are available to download for free from the Bear Tribe website, at www.beartribe.co.uk They are also available as a seperate document in sheet music form. Arctolatry, an Introduction One of Mankind's oldest spiritual impulses is Arctolatry, The Worship of the Bear. When we first came to the Northern forests Bear taught us to find food. When we starved in the depths of winter the flesh of the bear sustained us. Teacher and Saviour, his corpse alarmingly man-like when stripped of its warm fur, mystery and taboo surrounded the animal whose name must not be spoken. A child of the Sky God, lowered from on high on a golden chain, he is guest of honour at his own funeral feast. With thanks and messages for his Father his spirit is sent back to Heaven that he may return and feed us again in our need time. -
The Kalevala Index
The Kalevala Title Page Contents Preface Proem. Rune I. Birth of Wainamoinen. Rune II. Wainamoinen's Sowing. Rune III. Wainamoinen and Youkahainen. Rune IV. The Fate of Aino. Rune V. Wainamoinen's Lamentation. Rune VI. Wainamoinen's Hapless Journey. Rune VII. Wainamoinen's Rescue. Rune VIII. Maiden of the Rainbow. Rune IX. Origin of Iron. Rune X. Ilmarinen Forges the Sampo. Rune XI. Lemminkainen's Lament. Rune XII. Kyllikki's Broken Vow. Rune XIII. Lemminikainen's Second Wooing. Rune XIV. Death of Lemminkainen. Rune XV. Lemminkainen's Restoration. Rune XVI. Wainamoinen's Boat-building. Rune XVII. Wainamoinen Finds the Lost-word. Rune XVIII. The Rival Suitors. Rune XIX. Ilmarinen's Wooing. Rune XX. The Brewing of Beer. Rune XXI. Ilmarinen's Wedding-feast. Rune XXII. The Bride's Farewell. Rune XXIII. Osmotar the Bride-adviser Rune XXIV. The Bride's Farewell. Rune XXV. Wainamoinen's Wedding-songs. Rune XXVI. Origin of the Serpent. Rune XXVII. The Unwelcome Guest. Rune XXVIII. The Mother's Counsel Rune XXIX. The Isle of Refuge. Rune XXX. The Frost-fiend. Rune XXXI. Kullerwoinen Son of Evil. Rune XXXII. Kullervo As A Sheperd. Rune XXXIII. Kullervo and the Cheat-cake. Rune XXXIV. Kullervo Finds His Tribe-folk. Rune XXXV. Kullervo's Evil Deeds. Rune XXXVI. Kullerwoinen's Victory and Death. Rune XXXVII. Ilmarinen's Bride of Gold. Rune XXXVIII. Ilmarinen's Fruitless Wooing. Rune XXXIX. Wainamoinen's Sailing. Rune XL. Birth of the Harp. Rune XLI. Wainamoinen's Harp-songs. Rune XLII. Capture of the Sampo. Rune XLIII. The Sampo Lost In the Sea. Rune XLIV. -
The Kalevala
T H E KA L EVA L A T H E EPI C POEM OF F I N L AN D I N T O E NGL I SH JOH N M A RT I N CR A W F ORD I N T WO V OL U M ES VOL . I I F I F T EENT H T H OU S A N D CI NCI NNAT I T H E ROBERT CL A RKE COM PA NY 1898 CONTENT S. PAGE. N RU E XXV . ’ W ainamoinen s W - edding songs, RUN E XXVI . O rigin of the Serpent, RUN E XXVII . T he U w c m G n el o e uest, RUN E XXVIII . ’ T h e C Mother s ounsel, N RU E XXIX . T he Isle of Refuge, RUNE XXX . T he F -fiend rost , RUN E XXXI . Kullerwo inen Ev , Son of il, RUN E XXXII . K v , uller o as a Shepherd , RUN E XXXIII . K v C - c k uller o and the heat a e, N RU E XXXIV . K v finds T b - k uller o his ri e fol , N RU E XXXV . ’ K v Ev n D uller o s eeds, RUN E XXX VI . ’ Kullerwoi nen s c D h Vi tory and eat , PAGE. RUN E XXXVII . m ’ B G l Il arinen s ride of o d , RUN E XXXVIII . ’ m F ruiti e ss W Il arinen s ooing, RUN E XXXIX . ’ Wainamoi nen s Sailing, N RU E XL . Birth of the Harp N RU E XLI . -
Argument Diceless Storytelling
Version 1.4b 1 2 Contents 1 Player Section 7 1 Character Creation ..................................... 7 2 Character Development .................................. 8 2 GM Section 9 1 Character Creation ..................................... 9 2 Character Development .................................. 10 3 Action Resolving ...................................... 11 4 Combat actions ....................................... 12 5 Creating the story ..................................... 14 6 Setting and specific rulings ................................ 16 6.1 Races ........................................ 16 6.2 Cybertech ...................................... 16 6.3 Magic ........................................ 16 7 Argument and frustration ................................. 17 8 Acknowledgements & afterwords ............................. 18 A The Standard Fantasy Races 19 B Kalevala Magic 23 3 4 Argument DSS Copyright & Author info What is Diceless role-playing? c Copyright 2002 Rainer K. Koreasalo1 Diceless role-playing is a role-playing genre of (shades@surfnet.fi). All rights reserved. systems that don’t use any random number gen- Copies of all or portions of Argument DSS may erators to determine the end results of a par- be made for your own use and for distribution to ticular action. This means no flipping the coin, others, provided that you do not charge any fee rolling the dice or spinning the bottle to deter- for such copies, whether distributed in print or mine i.e. how much damage a hit to the head electronically. with a beer bottle does. You may create derivative works such as ad- There is a lot of commercial work on this ditional rules and game scenarios and supple- field of RPGs worth your time and money. The ments based on Argument DSS, provided that excellent “Amber - Diceless Role-playing” from such derivative works are for your own use or for Phage Press is the pioneer and you might still get distribution without charge, or for publication in your hands on “Theatrix” from Backstage Press. -
Lived Nation As the History of Experiences and Emotions In
PALGRAVE STUDIES IN THE HISTORY OF EXPERIENCE Lived Nation as the History of Experiences and Emotions in Finland, – Edited by Ville Kivimäki Sami Suodenjoki · Tanja Vahtikari Palgrave Studies in the History of Experience Series Editors Pirjo Markkola Faculty of Social Sciences Tampere University Tampere, Finland Raisa Maria Toivo Faculty of Social Sciences Tampere University Tampere, Finland Ville Kivimäki Faculty of Social Sciences Tampere University Tampere, Finland This series, a collaboration between Palgrave Macmillan and the Academy of Finland Centre of Excellence in the History of Experience (HEX) at Tampere University, will publish works on the histories of experience across historical time and global space. History of experience means, for the series, individual, social, and collective experiences as historically conditioned phenomena. ‘Experience’ refers here to a theoretically and methodologically conceptualized study of human experiences in the past, not to any study of ‘authentic’ or ‘essentialist’ experiences. More precisely, the series will offer a forum for the historical study of human experiencing, i.e. of the varying preconditions, factors, and possibilities shaping past experiences. Furthermore, the series will study the human institutions, communities, and the systems of belief, knowledge, and meaning as based on accumulated (and often conficting) experiences. The aim of the series is to deepen the methodology and conceptualiza- tion of the history of lived experiences, going beyond essentialism. As the series editors see it, the history of experience can provide a bridge between structures, ideology, and individual agency, which has been a diffcult gap to close for historians and sociologists. The approach opens doors to see, study, and explain historical experiences as a social fact, which again offers new insights on society. -
The Kalevala : the Epic Poem of Finland
u = DC = m / VTt ANCIKNT FINNISH HEROINE. THE KALEYALA THE EPIC POEM OF FINLAND INTO EXGLISH BY JOHN MARTIN CRAWFORD IN TWO VOLUMES VOL. II FIFTEENTH THOUSAND CINCINNATI THE ROBERT CLARKE COMPANY 1898 Copyright, 1888, BY JOHN MARTIN CRAWFORD. JUN 7 1956 CONTENTS. CONTENTS. PAGE. Rune XXXVII. Jlmarinen's Bride of Gold, - - 563 Rune XXXVIII. Umarinen's Fruitless Wooing, - 571 Rune XXXIX. - - Wainamoinen's Sailing, - 581 Rune XL. Birth of the Harp, - - - 594 Rune XLI. Wainamoinen's Harp-songs, - - 605 Rune XLII. Capture of the Sampo, - 613 Rune XLIII. - The Sampo lost in the Sea, ... 629 Rune XL1V. Birth of the Second Ilarp; 641 Rune XLV. Birth of the Nine Diseases, - - 651 Rune XLVI. Otso the Honey-eater, - - 661 Rune XLVII. Louhi steals Sun, Moon, and Fire, - 679 Rune XLVIII. - - Capture of the Fire-fish, 691 Rune XLIX. Restoration of the Sun and Moon, - 702 Rune L. Mariatta—"Wainamoinen's Departure, 717 Epilogue, .... 734 Glossary, - - -. - 73i* THE KALEVALA. RUNE XXV. wainamoinen's wedding-songs. At the borne of Ilmarinen Long had they been watching, waiting, For the coming of the blacksmith, With his bride from Sariola. Weary were the eyes of watchers, Waiting from the father's portals, Looking from the mother's windows; Weary were the young knees standing At the of the gates magician ; Weary grew the feet of children, to the walls and Tramping watching ; Worn and torn, the shoes of heroes, Eunning on the shore to meet him. Now at last upon a morning Of a lovely day in winter, Heard they from the woods the rumble Of a snow-sledge swiftly bounding. -
Gods, Demi-Gods & Heroes
Supplement IV GODS, DEMI-GODS & HEROES by Robert Kuntz & James Ward 2006 © 1976 TSR GAMES 7th Printing, November, 1979 Printed in U.S.A. INQUIRIES REGARDING THESE RULES SHOULD BE ACCOMPANIED BY A STAMPED ENVELOPE AND SENT TO TSR RULES. POB 756, LAKE GENEVA, WI 53147. Foreword Well, here it is: the last D&D supplement. It is with a strange mixture of sadness and relief that I tell you this. My first assignment, fresh out of college, was BLACK- MOOR. I came to regard it with a mixture of love and loathing, that has gradually seen the love win out. The loathing grew out of the educational trip that it was for me. They don't teach you in college what to do when the press breaks down, or your manuscript gets mysteriously misplaced; you just have to wing it. Well, the same applies to D&D'ers everywhere: we've told you just about everything we can. From now on, when the circumstances aren't covered somewhere in the books, wing it as best you can. As we've said time and time again, the 'rules' were never meant to be more than guidelines; not even true 'rules.' What the authors have done in this volume is to attempt to set down guidelines that will enable you to incorporate a number of various mythologies into your game/campaign. They make no claims that any of this material presented is exhaustive, or even infallible. Mythology is defined as 'a body of myths, especially: the myths dealing with the gods, demi-gods and heroes of a particular people, usually involving the supernatural.' Myth is defined as a legend. -
Argument Diceless Storytelling
Version 1.5C 1 2 Contents 1 Player Section 7 1 Character Creation ................................ 7 2 Character Development .............................. 8 2 GM Section 11 1 Character Creation ................................ 11 2 Character Development .............................. 12 3 Action Resolving ................................. 13 4 Combat actions .................................. 15 5 Creating the story ................................ 17 6 Designing a setting and Setting specific rulings ................. 19 6.1 Races ................................... 19 6.2 Cybertech ................................. 20 6.3 Magic ................................... 20 7 Argument and frustration ............................ 21 8 Acknowledgements & afterwords ......................... 22 A The Standard Fantasy Races 23 B Kalevala Magic 27 C Argument Vampires 35 3 4 Argument DSS Copyright & Author info What is a Storytelling Sys- tem? c Copyright 2002 Rainer K. Koreasalo1 (shades@surfnet.fi). All rights reserved. “A storytelling system” is just another name for a role-playing game system, used to em- Copies of all or portions of Argument DSS phasise the fact that role-playing is supposed may be made for your own use and for dis- to be about stories and having fun, not about tribution to others, provided that you do not tables, charts and experience points. charge any fee for such copies, whether dis- tributed in print or electronically. You may create derivative works such as What is Diceless role- additional rules and game scenarios and sup- plements based on Argument DSS, provided playing? that such derivative works are for your own Diceless role-playing is a role-playing genre of use or for distribution without charge, or for systems that don’t use any random number publication in a magazine or other periodical. generators to determine the end results of a Every derivate work must include the fol- particular action. -
The Forestland's Guests Mythical Landscapes, Personhood, And
Doctoral School in Humanities and Social Sciences Doctoral Programme of History and Cultural Heritage The Forestland’s Guests Mythical Landscapes, Personhood, and Gender in the Finno-Karelian Bear Ceremonialism Vesa Matteo Piludu Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in Lecture Room 12 of the Main Building (Fabianinkatu 33) on the 19th of January, 2019 at 11 o’clock. 1 Supervisor: Lotte Tarkka, Professor of Folkore Studies, Faculty of Arts, University of Helsinki. Adviser: Teemu Taira, Acting Professor (2018) and Senior Lecturer (2019) of Study or Religion, University of Helsinki. Pre-Examiners: Andrew Wiget, Professor of the Faculty of History, Moscow State University. Professor Emeritus of English Language and Literature, New Mexico State University. Enrico Comba, Associate Professor of Anthropology of Religions, Department of Cultures, Politics and Society, University of Turin. Opponent: Professor Andrew Wiget. Custos: Professor Lotte Tarkka. Main Affiliation: University of Helsinki, Faculty of Arts, Doctoral School in Humanities and Social Sciences, Doctoral Programme of History and Cultural Heritage. Study of Religions. Folklore Studies. Double affiliation (from 2018): University of Helsinki, Helsinki Institute for Sustainability Science (HELSUS). Credits: Cover photo by Susanna Aarnio. Keywords: Study of Religions; Folklore Studies; Cultural and Social Anthropology; Anthropology of Religions; Ethnology; Anthropology of Environment; Language and Environment;